For undergraduate courses in Popular Music, Music History, Recent American History, Sociology, and American Ethnic Studies. This text offers an in-depth examination of the social history of rock-and-roll. Rockin' in Time emphasizes several main themes, including the importance of African-American culture in the origins and development of rock music, the economy, technology, and the changing demographics of the youth market. Tracing rock from its inceptionfrom American blues to the presentthis book shows how rock-and-roll has reflected and sometimes changed American and British culture over the last fifty years.

David P. Szatmary is currently is the Vice Provost of Educational Outreach at the University of Washington in Seattle.

The Blues, Rock-and-Roll, and Racism
Elvis and Rockabilly
Dick Clark, Don Kirshner, and the Teen Market
Surfboards and Hot Rods: California, Here We Come
Bob Dylan and the New Frontier
The British Invasion of America
Motown: The Sound of Integration
Acid Rock
Fire From the Streets
Militant Blues on Campus
Soft Sounds of the Seventies
The Era of Excess
Punk Rock and the New Generation
I Want My MTV
The Promise of Rock-and-Roll
The Generation X Blues
The Rave Revolution
The Many Faces of Hip Hop
Metal Gumbo: Rockin' in the 21st Century
Bibliography
Index
Table of Contents provided by Publisher. All Rights Reserved.

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Rock 'n' roll will be around for a long, long time. Rock 'n' roll is like hot molten lava that erupts when an angry volcano explodes. It's scorching hot, burns fast and completely, leaving an eternal scar. Even when the echoes of the explosion subside, the ecstatic flames burn with vehement continuity. - Don Robey, owner of Peacock and Duke Records, inBillboard,March 1957 This book intends to be a social history of rock-and-roll. It will place an ever-changing rock music in the context of American and, to some extent, British history from roughly 1950 to 2002.Rockin' in Timetries to explain how rock-and-roll both reflected and influenced major social changes during the last fifty years. As Ice-T explained in 1997, "albums are meant to be put in a time capsule, sealed up, and sent into space so that when you look back you can say that's the total reflection of that time." Rockin' in Timeemphasizes several main themes, including the importance of African-American culture in the origins and development of rock music. The blues, originating in the work songs of American slaves, provided the foundation for rockand-roll. During the early 1950s, Southern African Americans who had migrated to Chicago created an urbanized, electric rhythm and blues that preceded rock-and-roll and served as the breeding ground for pioneer rock-and-rollers such as Little Richard and Chuck Berry. African Americans continued to create new styles such as the Motown sound, the soul explosion of the late 1960s, the disco beat in the next decade, and, most recently, hip-hop. The new musical styles many times coincided with and reflected the African-American struggle for equality. The electric blues of Muddy Waters became popular amid the stirrings of the civil rights movement during the 1950s. In the early 1960s, as the movement for civil rights gained momentum, folk protesters such as Bob Dylan and Joan Baez sang paeans about the cause. In 1964 and 1965, as Congress passed the most sweeping civil rights legislation since the Civil War, Motown artists topped the pop charts. When disgruntled, frustrated African Americans took to the streets later in the decade, soul musicians such as Aretha Franklin shouted for respect. During the late 1980s and into the 1990s, hip-hoppers such as Public Enemy rapped about inequality and a renewed interest in an African-American identity. As the civil rights struggle began to foster an awareness and acceptance of African-American culture, rock-and-roll became accessible to white teenagers. Teens such as Elvis Presley listened to late-night, rhythm-and-blues radio shows that started to challenge and break down racial barriers. During the 1960s, African-American performers such as the Ronettes, the Crystals, the Temptations, and the Supremes achieved mass popularity among both African Americans and whites. By the 1980s, African-American entertainers such as Michael Jackson achieved superstar status, and rap filtered into the suburbs. Throughout the last five decades, rock music has helped integrate white and black America. A dramatic population growth during the postwar era, the second theme of this book, provided the audience for an African-American inspired rock-and-roll. After World War II, both the United States and Great Britain experienced a tremendous baby boom. By the mid-1950s, the baby boomers had become an army of youngsters who demanded their own music. Along with their older brothers and sisters who had been born during the war, they latched onto the new rock-and-roll, idolizing a young, virile Elvis Presley, who attracted hordes of postwar youth. Rock music appealed to and reflected the interests of the baby-boom generation until the end of the 1970s. The music of the Dick Clark era, the Brill Building songwriters, the Beach Boys, the Motown artists, and the early Beatles showed a preoccupation with dating, cars, high school, and teen love. As t